"were topped with cement render. The guard room and the other convict-era buildings form the only remaining imperial-funded (as opposed to colonial) convict public works complex in New South Wales and form one of the most complete groups of convict structures in Australia. Military Guard Room is a part of the Prison Barracks Precinct, Cockatoo Island, Sydney Harbour. The guard room is single storey, rectangular, and built of sandstone blocks, with a separate kitchen. The style is Old Colonial Georgian. Both buildings are roofless. Window and door openings are rectangular. The walls finish at the roof line with stone slab"
"single skin VJ pine walls, cedar joinery and pressed metal and boarded ceilings. Some of the rooms, including the hallway, are unpainted hoop pine. The plan consists of a central hall with four bedrooms at the front and the drawing room and dining room towards the rear. The drawing room on the northern elevation, designed to overlook the town to the northwest, has a large bay window which is expressed as a gable in the roof. The grounds include a fenced in-ground concrete pool to the northwest and mature trees to the northern boundary. Wiss House (former) was listed on"
"homestead is a single-storeyed, single-skinned timber building with a corrugated galvanised iron roof. The plan is unusual. It has a verandah on three sides, and a U-shaped hipped roof, encircling a double pitch over the central hall. The central hall is encircled by bedrooms to the east and west, a large lounge to the north, a dining room to the north east, kitchen to the south east and several smaller service rooms to the south, the latter including the southern entry vestibule. The more formal entrance to the house is located on the northern frontage, which also features a metal"
"trim of the house were made of wood cut on the property. The house is in an asymmetrical U shape, with the base of the U long, and arms of (south) and (north). The house is approached by a long drive that ends in a circular are in front of the eastern facade, which has two entries sheltered by porches. The interior of the main wing includes an entry hall, three bedrooms, and a grand hall on the ground floor, whose walls are finished in half-timbering filled with stucco. The south wing houses a library and another large room, the"
"evolution during the 14 years of its construction, with a series of wings facing a central courtyard. The first phase, the family rooms called the Stone House, is ""Palladian in form with a central two story, hip roofed core flanked by one story wings and fronted by a porch"". Among its details are ""Tuscan piers on the porch, a Palladian window surmounted by an oval arch, five oval windows and simple moldings in a restrained Federal style. The walls are smooth ashlar limestone with a narrow intervening band for every third course. The interior rooms are intimate, focused around a"
"the central, smaller bay is enclosed and forms the main entrance to the house. The bays either side have double square posts, with curvilinear valances, and a spandrel panel of timber battens above. The central bay also has valances, a smaller batten frieze, gable battening, and marbled timber door surrounds. The house has a symmetrically organised plan, comprising two finely decorated major central rooms - a Drawing Room to the south and Billiard Room to the north, flanked by wings of bedrooms, with the kitchen in the north west corner. The entrance lobby projects into the Drawing Room, and has"
"of Household room is an exotic island oasis. The headboard is made from a surfboard, there are Hula girl table lamps, rattan carpet and Polynesian knickknacks. The boat bedroom features shelves and chests designed to resemble small rowboats with rowboat shaped beds. Two large beds made of actual unfinished tree branches with pink bedspreads fill another room. The living room features a giant green semi-circular sofa, and a stone wall fireplace. A red colored room connected directly to the living room by a short hallway, with no doors, has a pair of pullout couches rather than actual beds. New this"
"house was built. The sophisticated balance of horizontal and vertical lines further reflects the strong Japanese influence. The understated entrance is located at the side of the house, opening onto the driveway. The first-floor interior is a fluid succession of rooms sprawling under a low-lying ceiling. The living room extends across the front of the house, with a dining room at the right rear of the living room, up a few steps. A bedroom above the attached garage at the rear was for the maid; this extends out of the rectangular plan of the main house. There are four bedrooms"
"inside, using modest materials and a flat roof. The L-shaped single-story plan — designed on a 2 by rectangular grid scored into its concrete floor painted in Wright's signature ""Cherokee red"" — features two bedrooms and a bathroom in one wing and living and dining areas in the other. At the juncture of the two wings are the home's entrance, a study and the kitchen. To accommodate the original site's slope, the house features two levels. The living room features a ceiling at eleven-and-a half feet, the bedroom wing opens outward with tall glass doors and windows, and the house"
"are three mutually connected rooms from the central isle in the eastern part of the house, where the workshops were placed. From the central isle to the west there is a bigger room, with the street view. This room is connected with the smaller pantry, which the trade family used in their business. In the backyard, from the central isle to the east, there are two bigger rooms, mutually connected, and to the west there is a small hall and one room. All the rooms in the courtyard area were intended for the residence.[3] Upstairs, there are three big rooms"
"Usonian architecture, with the goal of ""affordable, beautiful housing for a democratic America."" The L-shaped, one-story home's floor plan features a dominant living room and social and spatial separation into ""active"" and ""quiet"" areas. The short side of the L consists of the ""active"" portion, centering on a living room with -high vaulted ceiling and views of Cedar Lake; the ""quiet"" portion is the long side ending in a three-car carport and has bedrooms as well as a gallery leading to a hidden main entrance. Located on 2801 Burnham Boulevard, the home is visible from public streets but remains privately"
"It occupied a rectangle measuring 29 feet by 31 feet 3 inches ( by ); each stem of the L was approximately wide. The single-story house was topped with a steeply-pitched wood-shingled hip roof. The interior was divided by wood partition walls into three rooms. A small bedroom occupied the northwest corner, at the angle of the L. The eastward projection contained a large kitchen and hall; the southward projection, a somewhat smaller parlor and dining room. A steep stairway led up to an unfinished attic. The floors were packed dirt; the ceiling was muslin tacked beneath boards. The interior"
"house, only one room deep, is long and narrow, 86 feet in length by 18 feet in depth. In the front elevation, the central three-bay pedimented pavilion is flanked by four-bay wings. The bays are defined by shallow, two-story Ionic pilasters. The walls of the pavilion and wings are in the same plane, since the pavilion does not project. The planar effect is emphasized by the wall sheathing, which is flush boarding, tongue-in-groove. The twelve flat pilasters rise with entasis from bases of double torus moldings to stylized Ionic capitals. Two string courses, one at first-floor ceiling height, the other"
"After World War II, Wright designed houses separately for several other co-op members, although the only design built was that for Erling P. Brauner, also in Okemos less than a mile and a half from Goetsch–Winckler House. One of Wright's earliest Usonian homes, the house is an ""in-line Usonian"", literally a house built in a straight line. The carport, living room, dining room, kitchen and bedrooms all form rectangular spaces that slide past each other. The living room takes up most of the house, with a chimney at one end in front of a workspace. At the opposite end, two"
"single roomed structure, with a large panelled door on the north elevation and a single large window on each of the other elevations. This is all illusion, however, as it actually contains 16 rooms on three floors. Only two of the panels in the door open to allow entrance, and the panes of glass in the windows are subtly curved, disguising the partitioning which allows what looks like a single window to serve several separate rooms. Many other tricks are used throughout the construction to preserve the apparent simplicity of the design. Four of the columns which surround the building"
"is a Victorian-style house with of living space, with three floors and a basement. Its main level is built of stone, and the upper levels are of wood frame construction. The front of the house is eight rooms wide, with lavishly detailed woodwork, tile and hardware. The left hand tower is square, with a steep pyramidal roof and a projecting rounded by, while the right turret is slightly smaller, octagonal in plan and surmounted by a curved bell-shaped roof. The central bay features a projecting one-story porch with Victorian detailing, with a curved bay above and a small, steep gable"
"each side. Three six-over-six windows are located above. The one-story wings each contain one six-over-six window with shutters. The corners of the wings have simple cornerboards. More six-over-six windows are located on the sides and rear of the house. Additions housing the kitchen and garage are architecturally similar and have minimal effect on the overall appearance of the house. On the interior, the house contains a central hall and stairway. Two pairs of rooms are on each side of the central hall, and a dining room is at the rear with the kitchen behind. The upper floor contains an L-shaped"
"is an octagonal hall with four semicircular archways of decoratively moulded timber, one over each of the corridors. The house has only two windows - fixed casements in the sitting room. All rooms have wide French windows with broad fanlights opening onto the verandah with timber framed flyscreen doors. Generally, the interior has clear finished timber board floors, single-skin timber partitions with moulded timber skirtings, belt rails, picture rails, architraves, and cornices. The ceilings are v-jointed boards. There are built-in timber cupboards throughout the house. The interior retains an original light fitting in the dining room and an original electricity"
"design, also with seven bays, and it has a pedimented porch with two columns. The east front has five bays with Corinthian pilasters on a slightly projecting plinth and an entablature above. The family wing has seven bays. The south front has a Tuscan colonnade on the lower storey and an Ionic colonnade, verandah and balustrade above. Not all of the rooms are open to the public. The major rooms which are open are described below. The Entrance Hall is in three bays. It is decorated in neoclassical style with a marble floor, red porphyry Ionic columns and a geometric"
"louvers draw cooling breezes toward the larger openings on the side facing downhill. A long, open-sided recreation room extends beneath the bedrooms and faces onto a wide lawn. The large master bedroom at one end is angled to preserve an old stand of eucalyptus trees, and a sharp, wraparound deck juts out from the living room end of the house, overlooking the pool, the treetops, and a wide expanse of the city and the leeward side of the island stretching into the distance. Every room has a view. The house is made of wood frame with retaining walls of concrete"
"where the private study of Baron Ferdinand de Rothschild contains a small spiral staircase leading to his bedroom directly above; at the Flint House, the study too contains a steep spiral staircase leading directly to the principal bedroom. The upper floor also contains two further bedrooms. Each of the three bedrooms has a small adjoining bathroom with a sunken bath. Each of the bedrooms has its own private roof terrace almost hidden in the stepped roof. Throughout the design, the elements of water, air and fire have been used to create an animation to the plan and reinforce the sense"
"from the cistern is then used to irrigate the landscaping around the home. The one-story, eight-room, ground-level house runs east and west. There are no stairs, even at entrances. There are no thresholds. For the most part, the house is one room wide, making for easy ventilation. The porch is the usual route from one room to another. A few rooms have interior doors. ""Every room has a relationship with something in the landscape that's different from the room next door,"" Heymann says. ""Each of the rooms feels like a slightly different place."" In the guest bathroom, for example, when"
"a low ceiling. The pointed prow separating the dining and living areas creates a small nook, reserved as Edna Purcell's writing area. The effect of the main level's design is to maintain intimacy within the larger space, not rendering adjacent spaces automatically visible in main areas of the house, while preserving unity between rooms and the openness of the entire floor. The second floor is accessed by a stairway on the north side, and includes a small hallway opening to a guest bedroom with sink, a bathroom, and the family bedroom space. The latter is a singular suite which could"
"an enlarged window seat but square in plan. All of these rooms are lined with timber vee-jay boarding and are stained up to the picture rail to simulate the richness of panelling. Bedrooms, hall and public rooms are all carpeted. The north-western corner of the house has now been enclosed with fibro-cement sheeting to form two large rooms, which are semi self-contained with basic bathroom facilities. A secondary axis is formed on the western side of these rooms by a series of doors that link the kitchen to the dining room, drawing room and on to the front verandah. The"
"open to the stairs and living room below. Four and five bedroom models are commonplace, yet smaller three bedrooms examples exist. Because the house was built on a slab, the space underneath the living room was pushed down half a level, creating a daylight basement similar to those found in a split-level or bi-level, and often contained a recreation room. The remainder of the first floor sits directly on the slab. The design, which is speculated to have originated on Long Island's South Shore / Nassau County, lacks a full basement because high water tables existed in the area. Developers"
"room (and free pile), and the maintenance area. By the entrance on the first floor are the lizard lounge (a small recreational area created by combining two adjacent rooms, the study room, and the Mystery Room. All of the common areas (the lounges and the dining room) are front loaded near the entrance of the house. On the first through third floors are the individual rooms. All of these floors are L-shaped, with a long South wing and a shorter North wing. There is one staircase near the front of the South wing and one at the back of it."
"specifications when constructing the outer façade. Only in detail were there changes made, such as both of the small windows next to the front door not being rectangular as in Taut’s design, but rather triangular. Interior Design Inside, Koenemann designed a unique room layout. The central hall, which was arranged with an expressionistic mantelpiece composed from misfired pottery, became the principal position, while the living room was the central room in Taut's design. On the ground floor of the igloo, situated next to the hall and a small toilet, are the bedroom and the kitchen. Upstairs there are two tiny"
"houses are each single storied at street level, with a subfloor level at the rear where the land falls away. Each pair of residences is housed under a single gabled hip roof that is clad in corrugated iron. Projecting gables at the front of each house are decorated with timber sunburst designs and finials while the eaves have pairs of brackets. The exterior walls are clad with narrow chamferboards. Windows at the front of each house are timber framed double hung sashes that have been grouped in threes. Each house consists of six main rooms and three bathrooms, the plan"
"the house is five bays wide and three deep and is built using braced-stud construction. The roof extends lower to the rear, giving the house a classic New England saltbox appearance. The front roof line is decorated with a rare plaster cove cornice. An ell extends to the rear of the house, originally 1½ stories but raised to two stories in 1790. The interior of the house follows a center hall plan with four rooms on each floor, two on either side of the central hall and stairwell. Two rooms on the north side of the house have wood panels"
"use by people. The interior appears to be a single open room, its space ebbing and flowing around two wood blocks; one a wardrobe cabinet and the other containing a kitchen, toilet, and fireplace block (the ""core""). The larger fireplace-kitchen core seems to be a separate house nesting within the larger glass house. The building is essentially one large room filled with freestanding elements that provide subtle differentiations within an open space, implied but not dictated, zones for sleeping, cooking, dressing, eating, and sitting. Very private areas such as toilets, and mechanical rooms are enclosed within the core. Drawings recently"
"of the other at the centre of the house. A narrow spiral stair, concealed in one of the cut off corners of the Octagon Drawing Room rises from the ground floor to the roof, while ""the backstairs"" is another large staircase lit by the same clerestory as the Great Staircase; this rises from the ground floor to the second floor. The Octagon Drawing Room (""7 on first floor plan"") completes the short enfilade beginning at the front door. It is the principal room of the house. Unfinished by Carr, the room has an ornate gilded ceiling with recessed panels in"
"from the octagonal plan, are the central spiral staircase, symmetrical arrangement of rooms with interconnecting doors, the verandas running all round the building, and the flat roof surmounted by a cupola. In accordance with Fowler's theories, the detailing is relatively plain for the period. Openings are simply framed by moldings. The covered verandas lack excess detail, having modest turned balustrade spindles and supporting posts. The decorative effect of the house comes from the basic design features: the octagonal shape and the external verandas. Fowler's concern with saving space is seen to typical effect here. There are four generously sized rooms"
"house on the center. The boathouse, while smaller, has three boat slips, which have held as many as six boats over the years. The second floor includes a game room with wet bar. The flagpole (which was originally on the top of the house) is on the western tip of the island and has a plaque next to it noting the fact that the founder of Dollinger Corporation, Lewis Dollinger, died on the island. There is plenty of lawn space on the island, and swimming space, including a dock and a water slide. The three-story home includes a kitchen, small"